For All My Sisters comes after 3 years away from the recording studios.
After almost 3 years away from the recording studios, a Best Of compilation album and a brand new label contract with Sonic Blew/Sony Red, after years with the independent record label Wichita Recordings, The Cribs finally released their 6th studio album named For All My Sisters, which was produced by Ric Ocasek, former member of The Cars.
In this album, The Cribs appear to have shaped what it looks like a definite formula to put together songs that perfectly fit into the garage rock revival style. This “definite formula” is no surprise.
Certainly The Cribs are an experienced band and also one of the most consistent of the lo-fi wave of early last decade, however they haven´t achieved the same level of popularity as The Libertines or The Strokes.
Delicate guitar lines creating very appealing rhythmical speeches occasionally shifting with powerful riffs, dainty vocal interpretations at times reaching very interesting tones that create really catchy sugar-pop choruses -although excessively used in the album- make For All My Sisters a very respectable mid-fi garage rock album with -most of the time- successful attempts to include pinches of pop elements.
Yet, The Cribs took this perfect formula a little too far. Very few variations in structures and melodies give the sensation of being listening to 10 minute songs.
In most of the songs’ first glimpse, there is a feeling of something exceptional about to burst, but only left as a promise caged in a security box when returning to the old and structured garage rock sound characteristic of this album.
At times there is no clear start or end of songs which often gives the sensation of monotony and it is only after hearing several times the album that subtle differences are noticed.
Luckily, at the end of the record the Jarman brothers let real geniality pop out with , “Pink Snow” song that contains the phrase that named the album, which makes total sense.
The song starts in a really soft and dark atmosphere and goes on with fortuitous drums turnings, unusual variation of tones, captivating guitar executions, really assertive up and downs and on top a vocal interpretation to blow minds out, and which altogether converts the song in a real trip that explores different emotions in just 7:13 minutes.
This burst of geniality also demonstrate that The Cribs definitely have the potential to leave behind the few good-tracks little scenario of premeditated garage songs to go through the big entrance of Rock and roll. The door is right in front of them and the question is would they use it?